Phenomenological Perception-Based Performance in Peter Ablinger’s Piano Music
WU Dielan GAO Fuxiao
Abstract: Following the linguistic turn in twentieth-century analytic philosophy, Ludwig Wittgenstein broke away from the simple binary opposition between language and music, characterizing music as an “unspeakable” (ineffable) independent form of expression embedded within the web of human actions. Since 1998, Austrian composer Peter Ablinger has been creating his series Voices and Piano, which utilizes historical recordings of prominent figures as vocal source material, with piano score extracted from the spectral analysis data of these recordings. Within the framework of simultaneous performance, the piano assumes the function of real-time perception, commentary, and juxtaposition. The performer is no longer a passive recipient of sound, but an experience wherein consciousness actively becomes embodied and encounters the world — thereby becoming a direct observer and interpreter of language. Selecting three pieces from this series—Pina Bausch, Marcel Duchamp, and Morton Feldman — this paper discusses the latent musicality in the human voice, as well as the aesthetic connotations both prior to and beyond semantic projection. Concurrently, it explicates how musical score serves as an open text rather than a closed system, and demonstrates how performance grounded in phenomenological perception becomes an active cultural practice and a process of meaning generation.
Key words: Performance Studies; Performance Interpretation; Phenomenological Perception; Piano Music; Peter Ablinger
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